Community Project
CHAOS-COSMOS – Grupo de danza de la Casa de Cultura de Río Grande
For the community project, I requested to collaborate with Ana, Esmeralda, Nadia, Dante, Reyna, Adela, Jocelyn and Sofía. These eight high school dancers were chosen to compose a dance with painting at Casa Wabi. The first two meetings consisted of painting workshops and choreography sessions. The last
the session was the dancer’s final performance, staged on a large surface of white flour, to represent the layer of paint under pigment.
We choose the sunset as our lighting and for the dance to take place in the sand by the water. The dancers covered the surface with pigment as if their bodies were tools in the hands of a painter. They built a rich surface in the sand, and then they threw sand on top of the work until it was covered. I loved his approach because they orchestrated a ritualistic, poetic dance, but also sometimes silly.
He talked about the act of painting; There may have been a narrative that was set to move forward but was interrupted by laughter that brought the work to life. It was messy and fun, but also interesting to see these teenage dancers approach painting as the subtext of their dancing bodies. Their movements were designed to push the pigment, but they were elegant and full of architectural gestures. In a way, the technique of painting. It was only a subtext and, nevertheless, they finally made an ambitious large and visual format, a dimensional work.
For the community project, I requested to collaborate with Ana, Esmeralda, Nadia, Dante, Reyna, Adela, Jocelyn and Sofía. These eight high school dancers were chosen to compose a dance with painting at Casa Wabi. The first two meetings consisted of painting workshops and choreography sessions. The last
the session was the dancer’s final performance, staged on a large surface of white flour, to represent the layer of paint under pigment.
We choose the sunset as our lighting and for the dance to take place in the sand by the water. The dancers covered the surface with pigment as if their bodies were tools in the hands of a painter. They built a rich surface in the sand, and then they threw sand on top of the work until it was covered. I loved his approach because they orchestrated a ritualistic, poetic dance, but also sometimes silly.
He talked about the act of painting; There may have been a narrative that was set to move forward but was interrupted by laughter that brought the work to life. It was messy and fun, but also interesting to see these teenage dancers approach painting as the subtext of their dancing bodies. Their movements were designed to push the pigment, but they were elegant and full of architectural gestures. In a way, the technique of painting. It was only a subtext and, nevertheless, they finally made an ambitious large and visual format, a dimensional work.
